Dissensus - Musichttp://www.dissensus.com/
enFri, 22 Feb 2019 13:27:13 GMTvBulletin60http://www.dissensus.com/images/misc/rss.pngDissensus - Musichttp://www.dissensus.com/
http://www.dissensus.com/showthread.php?t=14468&goto=newpost
Tue, 19 Feb 2019 10:18:40 GMTWas flipping thru my old music mags during the weekend.... Noticed there was a little hype going on regarding "Asians" in UK pop music of sorts. Pardon me though, I am neither British nor Asian, I know next to nothing about it, or even if it was a "thing" at all.

There were Cornershop, Voodo Queens, Asia Dub Foundation, Apache Indian, Bhangra House...
]]>Musicfirefingahttp://www.dissensus.com/showthread.php?t=14468Coolness is a helpful concept and we need more of it.http://www.dissensus.com/showthread.php?t=14466&goto=newpost
Mon, 18 Feb 2019 22:43:10 GMTThough ostensibly arbitrary it is actually *THE* most reliable aesthetic delineator going.Though ostensibly arbitrary it is actually THE most reliable aesthetic delineator going.
]]>Musicsadmanbartyhttp://www.dissensus.com/showthread.php?t=14466Youtube Ban For Dissensus.http://www.dissensus.com/showthread.php?t=14465&goto=newpost
Mon, 18 Feb 2019 09:34:42 GMTThere are few things which get me down as much as seeing a discussion derailed and deflated with a dirty protest of YouTube links smeared all over the wall, particularly now our collective taste is more diffuse and contradictory than ever. Perhaps we could agree not to do this? (Outside of those...There are few things which get me down as much as seeing a discussion derailed and deflated with a dirty protest of YouTube links smeared all over the wall, particularly now our collective taste is more diffuse and contradictory than ever. Perhaps we could agree not to do this? (Outside of those threads in which it's clearly appropriate/solicited) Or am I the only one who feels this way?
]]>Musiclukahttp://www.dissensus.com/showthread.php?t=14465All good music comes from religionhttp://www.dissensus.com/showthread.php?t=14464&goto=newpost
Sun, 17 Feb 2019 23:04:26 GMTCan you really argue with it?Can you really argue with it?
]]>Musicsadmanbartyhttp://www.dissensus.com/showthread.php?t=14464Compressing Timehttp://www.dissensus.com/showthread.php?t=14463&goto=newpost
Sun, 17 Feb 2019 13:32:49 GMTI read an interview with Eli Keszler recently and he came out with this idea of taking a recording of something large like a city and compressing it so that you experience the entire landscape within a second - https://www.tinymixtapes.com/features/eli-keszler-interview
An instrument I used a...I read an interview with Eli Keszler recently and he came out with this idea of taking a recording of something large like a city and compressing it so that you experience the entire landscape within a second - https://www.tinymixtapes.com/feature...zler-interview

An instrument I used a lot on Stadium that I built — I would take field recordings and filter them, and map short strikes from the city recordings and create these complex layers of empty city spaces. I love the idea. Stockhausen talked a lot about the idea of speeding up Beethoven’s symphonies so that they last one second, so I love the idea that through these sampler instruments you can make a sort of swarm out of an entire landscape that lasts one second. So you’re walking through this landscape in one second…

That’s a very interesting idea, though. You spread out a waveform and pick a slice out of that — that’s if you’re stretching it. But if you’re compressing it, you can traverse the entire space in a tiny fraction of the time.

It’s a Gestalt reading of the space; it takes a single moment. Dan Lopatin and I talk a lot about this idea of compression: compressing music, compressing information, compressing data. Through my playing, I like to compress so many hits, so many textures on the drums, so it forms a kind of sustain and the drums take on the role of a singing voice or a kind of singing texture. I like to layer that with these massive spaces that are compressed into this single gesture, or even mapped on the drums. And then you have a physical gesture from an acoustic instrument triggering a massive city space. There are all these ways of layering time in non-linear ways. I think that is kind of the essence of our experience these days; it’s a barrage of information.
]]>Musicversionhttp://www.dissensus.com/showthread.php?t=14463Online (post-geographic) Localism.http://www.dissensus.com/showthread.php?t=14461&goto=newpost
Fri, 15 Feb 2019 10:45:59 GMTIf we were to use this virtual space to create our own music genre that would represent an online and post-geographic localism. Where's other-life?
]]>Musiclukahttp://www.dissensus.com/showthread.php?t=14461punk/anarchist/squat techno autopsyhttp://www.dissensus.com/showthread.php?t=14460&goto=newpost
Thu, 14 Feb 2019 21:04:42 GMTWell?Well?
]]>Musicthirdformhttp://www.dissensus.com/showthread.php?t=14460industrial vs industrialhttp://www.dissensus.com/showthread.php?t=14456&goto=newpost
Mon, 11 Feb 2019 01:15:50 GMTso this again is kind of converging with the electro thread. there are two types of industrial aren't there? one the industrial as transgression, an image, an artworld (supposedly in opposition to the blindspots of a consumer society or conservatism - although more inverted) and the other the sonification of industry and the industrial management of daily life. I am not too bothered about shock tactics, i know democracy when push comes to shove is basically stalinism, which the subverting totalitarians don't ever seem to understand, and if they critique totalitarianism from the right it's organicism and individualism.

So, for obvious reasons I'm interested in the sonification of industry. but last night i was criticising the new dominic ferno berghain mix and some people were like well it's a tribute to the spirit of the industrial culture, which included 90s techno and rave mixtapes. except it was basically a merzbow/jk flesh/genesis p-oridge mix pretty much with one or two modern techno tracks from his mates regis and ancient methods or something. no 90s techno, and someone was like well you're attacking a strawman just to show off how much you know. but that's not it is it?

But yet, if this industrial is so anti-music, if it claims to reject the values of modern pop music or at least challenge them, then why do so many people in the more visible end of the scene adopt the exact trapping points of rockist ideology? the extraordinary individual and that. I mean I know the answer, commodification, subcultural belonging, money making, blah blah blah.

But then why? Why be into such an uneventful myopia of the canon with outdated concepts of 40 years? maybe my approach is wrong but at least I feel like the stuff I am into is more faceless, it doesn't need explaining to do, because isn't that what all transgressive shtick is? ultimately you have to explain the transgression which defeats the point of the transgression in the first place.
]]>Musicthirdformhttp://www.dissensus.com/showthread.php?t=14456The Trap and The Escape.http://www.dissensus.com/showthread.php?t=14454&goto=newpost
Fri, 08 Feb 2019 20:17:47 GMTSo this is what I would say
it's fine for us to slag off music for being dull and lacking purpose, a collective attack and energy just so long as our house, as writers, and all of us here are writers and thinkers and dreamers, is in order.
It is our responsibility to set an example and model a process and a practice. Exactly the same principles apply. We're bound by the same rules. If we can make something happen, maintain then increase its mass and momentum, and we can do that, then reality follows in our wake, necessarily.

We've had some successes, and I'm very proud of those collective high tide markers, and we've had fuck ups, for which I'm mostly to blame and we've learned important lessons.

We can have a scene and a movement. We can excite ourselves and meet our own desires together. We don't need to wait for music to do it for us like some kinda handjob we recieve from media. It's our playground.
]]>Musiclukahttp://www.dissensus.com/showthread.php?t=14454New Stuff.http://www.dissensus.com/showthread.php?t=14453&goto=newpost
Fri, 08 Feb 2019 04:23:50 GMTSee above. There's got to be some. I'm talking within the last three to five years, max. We can't have every thread rolling back to '03 at the latest, I'm sure something happened after grime.
]]>Musicversionhttp://www.dissensus.com/showthread.php?t=14453RIP Ayub Ogadahttp://www.dissensus.com/showthread.php?t=14451&goto=newpost
Tue, 05 Feb 2019 11:25:56 GMT

Quote:

Kenyan singer-songwriter Ayub Ogada was a busker on the Northern Line when he came to Real World's attention in the late 80s. And this 1993 set - his only record for the label - proved that it was a meeting of minds, with his disarmingly simple arrangements, allowed to hang there unadorned, making a lasting impression. Simply backing himself (albeit with virtuosic ease) on an East African lyre called a nyatiti, this record introduced Ayub as a performer of great charm, his warm vocals never leaving centre stage.

trekking from central asia to europe in the migration period
]]>Musicother_lifehttp://www.dissensus.com/showthread.php?t=14450http://www.dissensus.com/showthread.php?t=14448&goto=newpost
Wed, 30 Jan 2019 14:30:04 GMTImage: https://i.pinimg.com/originals/84/54/77/84547735429ecabcf2425cd81ecaf865.jpg
Robert Fludd posits that.
---Quote---
The commonly known and practised music, musica instrumentalis, is only the shadow of the true and deeper music, of musica mundana and musica humana, both which have...

Robert Fludd posits that.

Quote:

The commonly known and practised music, musica instrumentalis, is only the shadow of the true and deeper music, of musica mundana and musica humana, both which have reference to the order of the world, the place of man in the cosmos, and to his own inner structure. But this music, as well as the miraculous variety of Orpheus and Arion, is lost.

It has to be rediscovered, for through it man may recognize himself and thus finally attain a mystical knowledge of God...

... Fludd derives his explanation of this fantastic promise from his conception of the world as a harmonic cosmos of spheres and correspondences. As one string moves another tuned to the same or a consonant note, so the jewels which are replete with the nature of the Sun, may be moved by the sound or the voice of man, if he knows the true sound of Apollo, that is to say of the Sun...

...Fludd assumes two poles in this musical analogy. The instrument of this music, the world, is like a monochord. Its string, which induces the harmony of the different parts of the world, is represented by the materia extended between the two extremes. The author of this music is the anima mundi, or the essential light, or, in other passages, God. Here Fludd explicitly calls God pulsator Mono-chordii. He likens the player and his instrument to the opposite principles forming the interpenetrating pyramids. They are both as necessary in the production of the musica mundana as the player and his instrument are necessary in the production of instrumental music." As in the scale of human instrumental music the deepest note, F, leads to the highest one, ee la, so likewise in the monochord of the world as the tones get higher and the voice more intense the spiritus mundi gets thinner.

From the The Sufi Message of Hazrat Inayat Khan:

Quote:

...through this subject I wish to direct the attention of those, who search for truth, towards the law of music which is working throughout the whole universe and which, in other words, may be called the law of life, the sense of proportion, the law of harmony, the law which brings about balance, the law which is hidden behind all aspects of life, which holds this universe intact, and works out its destiny throughout the whole universe, fulfilling its purpose.

Pythagoras discovered how harmonies issue from the ratios of vibrating strings, concluding that music, based on ratios of numbers, is the definitive principle ordering the world, both Plato and Aristotle developed these ideas in their theories on physical/celestial harmonies.

Chinese cosmology was deeply interested in musical harmony and its relationship with the human body,the physical and the astronomical.

The wave theory of matter and quantum physics now describes a reality as energy vibrating at different wavelengths at multiple dimensions. String theory suggests that various subnuclear particles are really different modes of vibration of extremely small “strings.”

Quote:

“The mind of God we believe is cosmic music, the music of strings resonating through 11 dimensional hyperspace. That is the mind of God”

This seems to be one of the most enduring ideas across philosophy, cultures and religions. we see it illustrated physically in cymatics, we have detected the sound of the big bang, we know the base frequency of the universe and we can listen to the music of the spheres.
]]>Musicdroidhttp://www.dissensus.com/showthread.php?t=14448Post-hardcore hardcore/ teenage idiot energy/ body rapturehttp://www.dissensus.com/showthread.php?t=14447&goto=newpost
Wed, 30 Jan 2019 01:45:14 GMTvolume up. heavy metal by other means. thirdform.